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KUPFER FORUM

DAS MAGAZIN FÜR KUPFER UND ARCHITEKTUR • 28/2010

WUNDERSCHÖN FÜR EIN JAHRHUNDERT – ODER LÄNGER • KUPFERINSPIRATION • KUPFER SCHLÄGT GOLD GEWINNER DES COPPER AWARD 2009 • ISLAND COPPER

IST KUPFER IN DER ARCHITEKTUR UMWELTGERECHT?

• HAKANIEMENRANTA 6 – RENOVIERUNGSPROJEKT

Herzlich Willkommen bei der ersten Ausgabe des Copper Forum im Jahr 2010 Wie üblich möchten

Herzlich Willkommen bei der ersten Ausgabe des Copper Forum im Jahr 2010

Wie üblich möchten wir eine vielseitige Auswahl an Kupferprojekten in Europa vorstellen - und noch eini- ges mehr. Der Schwerpunkt dieser Ausgabe sind jedoch neue Oberflächenbehandlungen, die Architekten, Innen- architekten und Künstler heutzutage begeistern. Dabei geht es von dreidimensionaler Oberflächenmodellie- rung bis hin zu unterschiedlichen Vorpatinierungs- techniken. Wir freuen uns besonders, Ihnen von meh- reren Projekten berichten und Beispiele von Fassaden zeigen zu können, für die eine neue Kupferlegierung mit einem warmen, goldenen Schimmer verwendet wird, der zeitgenössischer Architektur eine einzigarti- ge, reiche Qualität verleiht. Kürzlich wurden bei einem gut besuchten Festakt in London die Gewinner des European Copper Award 2009 verkündet. Der Architekt Chris Hodson, der an den Beratungen der Jury teilnahm, berichtet vom Wettbewerb und hebt die faszinierenden Aspekte eini- ger nominierter Projekte, insbesondere des Spanischen Siegergebäudes, hervor.

Umweltaspekte gewinnen zunehmend an Bedeutung, besonders bei der Wahl des Baumaterials. Dabei fragt sich, ob Kupfer als Baumaterial mit den gemeinsamen Zielen der EU-Länder bezüglich des Umweltschutzes übereinstimmt. Pia Voutilainen und John Schonen- berger vom European Copper Institute klären dieses wichtige Problem und teilen uns ihre eigene Meinung mit. Das Copper Forum erscheint nun seit mehr als 15 Jahren und wir bemühen uns, das Magazin beständig zu verbessern, um den Anforderungen unserer Leser aus dem Bereich Architektur gerecht zu werden. Bit- te wenden Sie sich an die Lokalredaktion, wenn Sie Meinungen zu unseren Artikeln oder neue, anregen- de Projekte haben, von denen Sie uns gern berichten möchten.

Viel Spaß beim Lesen dieser Ausgabe!

Lennart Engström, Hrsg.

Kupfer Forum, April 2010 Das Kupfer Forum gehört mit zur laufenden Kampagne ”European Copper In
Kupfer Forum, April 2010
Das Kupfer Forum gehört mit zur laufenden Kampagne ”European Copper In Architecture Campaign” und erscheint
halbjährlich mit einer Auflage von 24500 Exemplaren.
Das Magazin wird an Architekten und Fachleute der Baubranche in Russland, Polen, Dänemark, Norwegen, Schweden,
Finnland, Ungarn, der Tschechischen Republik, Spanien, Frankreich, Italien, Deutschland und im Vereinigten Königreich
verteilt.
Hrsg.: Lennart Engström, Tel. +46 70 657 47 34, Fax +46 21 19 87 04, lennart.engstrom@copperconcept.org
Anschrift: Copper Forum, Trefasgatan 1, Box 550, SE-721 10 Västerås, Schweden
Hrsg.: Lennart Engström
Layout und Realisierung: Naula Grafisk Design/M Reklam
Druck: Intellecta Infolog 2010, Schweden
Redaktion:
Hannele Kuusisto, FI
Esko Miettinen, FI
Vadim Ionov, RU
Kazimierz Zakrzewski, PL
Robert Pinter, CZ
Jirí Kratochvíle, CZ
Chris Hodson, UK
Olivier Tissot
Vincenzo Loconsolo
Anton Klassert
José Ramón Morales
promomix@luukku.com
esko.miettinen@eark.inet.fi
vsi@eurocopper.org
zakrzewski@miedz.org.pl
robert.pinter@hcpcinfo.org
inkosas@inkosas.cz
chris@hodsons.com
vva@eurocopper.org
crespim@iir.it
mwerner@kupferinstitut.de
ndiaz@infocobre.org.es
 
 
 
 
 
 
 
 

Inhalt

4

Skellefteå Kraft – Wunderschön für ein Jahrhundert – oder länger

 
4 Skellefteå Kraft – Wunderschön für ein Jahrhundert – oder länger  

8

Zollabfertigungsgebäude Katajanokka, Helsinki

10

Musik wie zu kupfernem Eis erstarrt

12

Ist Kupfer in der Architektur umweltgerecht?

12 Ist Kupfer in der Architektur umweltgerecht?

14

Winners of the 2009 Copper in Architecture Awards

16

Winning Bronze

16 Winning Bronze

18

Alpine Copper in Context

20

Copper Strikes Gold

 
 

21

A ‘Precious Metal’ museum for Stockholm

21 A ‘Precious Metal’ museum for Stockholm
21 A ‘Precious Metal’ museum for Stockholm
21 A ‘Precious Metal’ museum for Stockholm
21 A ‘Precious Metal’ museum for Stockholm
21 A ‘Precious Metal’ museum for Stockholm

21

Creating an Impression in Tromsø

22

Freya´s Cabin Kielder Water

24

Colston Hall Foyer Building Bristol

26

28

30

32

A Landmark Hotel for Doncaster

Copper Inspiration

Island Copper

Copper at Sea

26 28 30 32 A Landmark Hotel for Doncaster Copper Inspiration Island Copper Copper at Sea
35

35

33

Hakaniemiranta 6 – The eight-storey office building

 
 

36

A modern Marine Villa

37

Wrestling with Copper

38

Copper in Harmony

38 Copper in Harmony
38 Copper in Harmony
 
 

SKEllEftEå KrAft

Text von Josef Eder der General Architecture Sweden AB

Wunderschön für ein Jahrhundert

Architecture Sweden AB Wunderschön für ein Jahrhundert “Es muss beständig sein” - das sagte unser Kunde,

“Es muss beständig sein”

- das sagte unser Kunde, als wir mit der Entwicklung des neuen Hauptsit- zes von Skellefteå Power beauftragt wurden. In 2006 entschloss sich das Energieversorgungsunternehmen, sein Bürogebäude um ca. 10000 Qua- dratmeter Bürofläche zu erweitern, was jetzt abgeschlossen wurde. Der Haupteingang hat ein neues Design, befindet sich aber noch im ursprüng- lichen Gebäude, wohingegen das neue Gebäude Büros, Vorstandsräume und das Bedienungszentrum für die fern- steuerung der Elektrizitätswerke des Unternehmens im ganzen land be- herbergt.

Das Gebäude verdankt sein Design einem globalen Standpunkt, bei dem der Eigen- tümer des Gebäudes auch der Nutzer und Verwalter ist. Daraus ergaben sich Lösungen und Systeme zur Optimierung der Lebensdauergesamtkosten, wobei Funktionalität, Wartungsaspekte und Be- triebskosten berücksichtigt wurden. Der in hohem Maße handgefertigte und solide Stil spiegelt die Ambition des Gebäude- eigentümers wider, es zu einem Teil der Ortschaft zu machen und führte zu einem Gebäude mit sehr niedrigem Energiever- brauch.

Die solide Struktur und klare Tektonik des neuen Gebäudes basieren auf ei- ner anspruchsvollen dreidimensionalen

Ordnung. Das Design des Gebäudes ent- spricht der klassisch rationalen Tradition. Unser Ziel bestand darin, ein Gebäude zu errichten, das den Nutzern ermöglicht, es für ihre eigenen vielseitigen Bedürfnis- se und Wünsche zu beanspruchen, und gleichzeitig die gemeinsame Identität zu stärken.

Das Gebäude ist als kollektiver Raum ge- staltet, der, innerhalb der Grenzen des modularen Systems in das umgebende Stadtbild passt. Ein elfstöckiger Abschnitt weist im Westen Richtung Stadt, wobei seine eingerückte Position Abstand zum ursprünglichen Gebäude schafft. Nach Osten bildet das Gebäude einen niedri- geren Teil, der zum Innenhof des Blocks

– oder länger

SKEllEftEå KrAft

– oder länger SKEllEftEå KrAft zeigt, wobei das Fundament aus Beton des Gebäudes die Höhenunterschiede mit

zeigt, wobei das Fundament aus Beton des Gebäudes die Höhenunterschiede mit ei- nem Kellergeschoss ausgleicht.

Das Äußere ist ein Gewebemantel aus Kupferkassetten, der dem Gebäude ein Erscheinungsbild von Beständigkeit und Zusammengehörigkeit gibt. Wir können bereits ahnen, wie schön die Kupferfassa- de altern wird, manchmal auf unerwartete Art und Weise und je nach Höhe und Po- sition der Kassetten ganz unterschiedlich. An einigen Stellen gibt es bereits einen Grünschimmer, an anderen Stellen hat die Oxidation kaum begonnen. Die großen Flächen dunkeln schneller, was, wie auch beabsichtigt, die Beständigkeit des Ge- bäudes erhöht.

dunkeln schneller, was, wie auch beabsichtigt, die Beständigkeit des Ge- bäudes erhöht. COPPER FORUM 28/2010 5
dunkeln schneller, was, wie auch beabsichtigt, die Beständigkeit des Ge- bäudes erhöht. COPPER FORUM 28/2010 5

SKEllEftEå KrAft

Das Äußere enthält keine organischen Werkstoffe und besteht aus einem Fun- dament, einer Wand aus Gips-Beton, Stahlträgern mit Isolierung hinter Faser- zementplatten und der Kassettenfassa- denabdeckung. Diese besteht aus 1,25 mm dicken Kupferblechen mit verborgenen Halterungen, die auf zwei Schichten von Stahlträgern montiert sind. Die Fassade ist mit 9000 dieser Kassetten bedeckt. Leisten, Gitter und Sockelanschlüsse sind ebenfalls als Kassetten ausgeführt. Die Aluminiumfenster sind auf die Hälfte der Wanddicke zurückgesetzt, was zusammen mit den Kupferkassetten und den Fenster- einfassungen aus Birkenholz die Dicke der äußeren Wand erkennen lässt.

Die Anordnung innen basiert auf dem Grundkonzept des Gebäudes als Stadt. Das Atrium, das Treppenhaus, das sich durch das Gebäude und die gemeinschaft- lichen Kaffeepausenbereiche ausdehnt – all das fungiert als öffentlicher Be- reich, zu dem die breiten Gänge führen. Diese allumfassende Lösung ermöglicht den Nutzern, ihre Räume individuell auf verschiedene Arten auszustatten und zu dekorieren und Besitz vom Gebäude in ei- nem kohärenten und vereinigten Ganzen zu ergreifen. Die entstandene Gebäude- fläche vermittelt dem Inneren Qualität, dominiert von der offensichtlichen Ge- schlossenheit zur Fassade, mit Licht und Ausblicken in viele Richtungen. Obwohl sie von außen massiv erscheinen, werden die Fassaden von innen mehr als Wände einer verglasten Veranda wahrgenommen, mit Fensteraussparungen, die das Tageslicht sammeln und direkt ins Innerste des Ge- bäudes weiterleiten.

Das Traggerüst und die Treppen wurden vor Ort in Beton gegossen. Die Bandbreite an Materialien, Buchenholz, Edelstahl und Details aus Kupfer vermitteln Beständig- keit und Qualität. Speziell entwickelte Bo- genlampen mit einem Schirm aus Kupfer wurden von demselben Blechhersteller gefertigt, der die Kassetten auf der Fassa- de montiert hat. Die Griffe der Eingangs- tür, die aus solidem Kupfer und Edelstahl- aufhängungen bestehen, werden durch Benutzung ansprechend altern.

solidem Kupfer und Edelstahl- aufhängungen bestehen, werden durch Benutzung ansprechend altern. 6 COPPER FORUM 28/2010
solidem Kupfer und Edelstahl- aufhängungen bestehen, werden durch Benutzung ansprechend altern. 6 COPPER FORUM 28/2010

Im Atrium des Gebäudes hängt ein mo- numentales, extrem himmlisches Kunst- werk. Entwicklung und Ausführung durch GA zusammen mit der Schmiede von Tho- mas Hydling. Es fungiert als Modell, das die Architektur des Gebäudes erläutert. Es zeigt alle Abmessungen dreidimensio- nal, alle Linien und Ebenen sind mit Türen, Fenstern, Leisten und Säulen verbunden. 625 Meter von 2,9 mm Kupferrohr wurden mit 735 mit Silber gelöteten Kupfer-T-Stü- cken aus 4 mm-Kupferrohr verbunden.

Die robusten und massiven, in Designlö- sungen immer wieder verwendeten Mate- rialien, ermöglichten gründliche Studien und ausführliche Beschreibungen der Fensterhalterungen, Kupferkassetten, Betonelemente usw. aus baulicher und tektonischer Sicht. Dieser Prozess ermög- lichte die fertigungsaufwendigen Stufen in hochpräziser Fertigung und Montage.

Unsere Architektur findet ihren Ursprung eher in der Tektonik als in räumlichem Denken. Unabhängig von der Größe ba- sieren unsere Projekte auf unseren Be- mühungen, strukturelle Beziehungen im Design der Fassade und der Anordnung von Raum sowie bei der Planung und Ge- staltung der Details sichtbar zu machen. Wir sind davon überzeugt, dass Räume mit einem bewussten Design komplexe und interessante Verbindungen schaffen kön- nen. Gegenwärtig arbeitet unser Büro an Projekten, bei denen recyceltes Bauholz, Kupfer, Messing, Marmor und Beton die vorherrschenden Werkstoffe sind.

Marmor und Beton die vorherrschenden Werkstoffe sind. SKEllEftEå KrAft Projekt: Kanalgatan 71, Skellefteå

SKEllEftEå KrAft

Beton die vorherrschenden Werkstoffe sind. SKEllEftEå KrAft Projekt: Kanalgatan 71, Skellefteå Architekten: General

Projekt: Kanalgatan 71, Skellefteå Architekten: General Architecture Sweden AB, www.g-a.se Josef Eder architect SAR/MSA Olof Grip architect MSA John Billberg architect SAR/MSA Fabian Blücher architect SAR/MSA Erik Persson architect MSA Entwurf: WSP Skellefteå, Rolf Öberg Eigentümer: Skellefteå Kraft AB Auftrag von: Generalunternehmer Auftragnehmer: NCC Construction AB, Skellefteå Zulieferer der Kupferfassade: Luvata Gesamtfläche: 9521 m 2 Baukosten: 192 M SEK Projektzeitraum: 2006–2009 foto: Lindman Photography

CK9 ZoLLABFerTIGunGSGeBäuDe

Topi Tuominen Architekt SAFA

Katajanokka, Helsinki

Der im Zentrum Helsinkis gelegene Hafen Katajanokka Island wurde in den 70er Jah- ren zu einem Passagierhafen umgestaltet. Zur gleichen Zeit wurde ein neuer Gebäude- komplex mit Backsteinfassaden als erwei- terung des bisherigen Gebäudekomplexes im Jugendstil von Anfang 1900 gebaut. Der kleine Zollpavillon wurde 2008 im Passa- gierhafen gebaut. Die Pavillonfassade aus zwei Metallen passt optisch in beide rich- tungen sehr gut – zum Meer hin und zur Stadt hin. Der klassische Farbkontrast von Kupfergrün und Backsteinrot passt gut ins Stadtbild. Der innovative einsatz von Mate- rial und die innovative Ausführung des Pro- jekts sind qualitativ hochwertig.

Esko Miettinen Architect SAFA.

Als die neue Fährverbindung zwischen Hel- sinki und Tallinn fertiggestellt war und Plä- ne für eine neue Seeverbindung zwischen Helsinki und St. Petersburg entstanden, wurde der Austausch des alten Gebäudes für Zollabfertigung in Leichtbauweise zum Thema. Im März 2007 begannen die Archi- tekten mit der Planung des neuen Gebäu- des. Das Gebäude wurde mit einem straffen Entwicklungs- und Bauplan errichtet und im Februar 2008 fertiggestellt. Im hohen Teil des Gebäudes befinden sich die Fahrzeugabfertigung und die Be- lüftungsstation. Im niedrigeren Teil des Gebäudes befinden sich Kundendienst- einrichtungen, Abfertigungsbereiche und

sich Kundendienst- einrichtungen, Abfertigungsbereiche und Nebeneinrichtungen. Im Gebäude befinden sich auch

Nebeneinrichtungen. Im Gebäude befinden sich auch Einrichtungen, die mit dem Zoll nichts zu tun haben, z.B. ein Souvenirladen oder sanitäre Einrichtungen für die Fahrer, die auf die Einschiffung warten. Die ge- samte Geschossfläche beträgt ca. 280 m 2 . Der Standort des Gebäudes wurde durch die Neugestaltung der von der Hafenbe- hörde zum Zeitpunkt des Bauprojekts ge- planten und umgesetzten Verkehrsführung festgelegt. Die Gestaltung der Verkehrs- führung hatte auch Einfluss auf das lange aber schmale Baugelände. Der Kaibereich wird auch von Transat- lantikkreuzfahrtschiffen genutzt, die im Sommer Helsinki besuchen. Der Skelettbau des Gebäudes besteht

Blick zum Meer, Aluminium und perforiertes Kupfer.

aus Stahl. Die Konstruktion des hohen Teils und die Unterstandskonstruktionen sind mit perforiertem Kupferblech abgedeckt, das grün vorpatiniert ist. Die Seitenkonst- ruktion des Unterstands besteht auf beiden Seiten aus 50% durchlässigem Blech. Das Meer glitzert durch den Unterstand, wenn man vom Land aus hindurchsieht, und die doppelt perforierten Bleche erwecken bei vorbeifahrenden Reisenden den Anschein von „lebendigem“ Blech. Der untere Teil ist mit Aluminium in sei- ner natürlichen Farbe ummantelt. Die Ble- che wurden mit großen Nieten und vertikal überlappend befestigt, damit es wie die Sei- ten eines alten Schiffes aussieht. Bei den äußeren Wandkonstruktionen

unter der Ummantelung handelt es sich um vorgefertigte Blech-Wolle-Blech-Ele- mente. Abgesehen von Boden und Sockeln

unter der Ummantelung handelt es sich um vorgefertigte Blech-Wolle-Blech-Ele- mente. Abgesehen von Boden und Sockeln besteht nur die Sichtschutzwand vor der langen Fassade auf der Landseite aus Be- ton. Die Farbgebung der Wand wurde vom Künstler Pertti Kukkonen mittels seines eigenen Farbbetonverfahrens ausgeführt, das auf der Oxidation von Kupfer basiert. Gemäß dem ursprünglichen Plan soll- te das Gebäude mittels vorgefertigter Raumelemente umgesetzt werden, was Auswirkungen auf die Materialwahl hatte. Aufgrund des Zeitplans und der Kapazi- tätsprobleme der Hersteller entschied man sich für das Bestandsgebäude der Hersteller. Dadurch änderte sich die ur- sprüngliche Auswahl des Fassadenme- talls nicht. Die Leichtbauweise ist die na- türliche Lösung für ein Gebäude, das dem Seeverkehr und anderen Hafeneinrichtun- gen dient. Es bietet auch einen Kontrast zu den mächtigen Backsteinblöcken von Ka- tajanokka. Das perforierte Kupferblech, das dem hohen Hallenteil Helligkeit geben soll, wurde mittels Auslegern 20 cm über die äußere Wand hinausgezogen. Jedes Blech wurde von Hand in der Fabrik patiniert, um das lebendige Erscheinungsbild der Fassadenoberfläche sicherzustellen. Die endgültige Patinierung wird die Natur mit der Zeit vollziehen.

Der Pavillon vom Meer aus gesehen

mit der Zeit vollziehen. Der Pavillon vom Meer aus gesehen Die Nordfassade. Querschnitt Grundriss Entwickler/Kunde:

Die Nordfassade.

Der Pavillon vom Meer aus gesehen Die Nordfassade. Querschnitt Grundriss Entwickler/Kunde: Hafen in Helsinki

Querschnitt

Grundriss

Entwickler/Kunde: Hafen in Helsinki Projektleiter: yIT-Rakennus Oy fassadenarbeiten: Metallummantelung: Plekitööde Keskus Oy lieferant äußerer wandelemente: Paroc Oy Architekt: Archivolta Oy, Topi Tuominen architect SAFA

Strukturelle gestaltung: Finnmap Consulting Oy Elektroanlagen: Insinööritoimisto Tauno Nissinen Oy Hvac design: Tuomi yhtiöt Oy Umsetzung von farbbeton: Pertti Kukkonen

foto: Topi Tuominen

Musik wie zu kupferneM eis erstarrt

Musik wie zu kupferneM eis erstarrt Der neue Hauptsitz der Sydbank in der norddeutschen Stadt flensburg
Musik wie zu kupferneM eis erstarrt Der neue Hauptsitz der Sydbank in der norddeutschen Stadt flensburg
Musik wie zu kupferneM eis erstarrt Der neue Hauptsitz der Sydbank in der norddeutschen Stadt flensburg

Der neue Hauptsitz der Sydbank in der norddeutschen Stadt flensburg befindet sich im Zentrum der Stadt. Das Gebäude umfasst 4000 Quadratmeter, die sich auf drei Etagen und ein Parkhaus verteilen. Das Gebäude besteht aus einem gut ge- stalteten Backsteinbau und einem Anbau aus Glas mit einem Sichtschutz aus vertikal angeordneten Kupferlamellen.

Die Behandlung der fassade ist von den unterschiedlichen standortbedingungen und den unterschiedlichen funktionen des Gebäudes abhängig. Die fassade nach süden ist zum schutz gegen hohes Verkehrsaufkommen und sonnenlicht relativ ab- geschlossen. Die fensteröffnungen wurden mit einem Muster aus diagonal angeordneten natursteinen ausgefüllt, was eine Begrenzung ergibt und natürliches Lichtspiel zulässt. nach westen liegen am Gebäude entlang offene Balkone hinter einer reihe großer abgeschrägter Backsteinsäulen, die nicht nur vor der nachmittagssonne schützen, sondern auch den Blick auf das rathaus und eine Grünfläche freigeben.

Die nordfassade weist auf den roteplatz und schafft mit ihren großen frontfenstern eine ruhige atmosphäre. Die Glasfassade auf der Ostseite des Gebäudes zeigt auf eine der einkaufsstraßen der stadt und fungiert als Haupteingang, foyer, treppenhaus und konferenzraum.

Die vertikal angeordneten Lamellen bestehen aus einem mit kupfer ummantelten profilträgermaterial, das von einer alu- miniumfassade unterbrochen wird. abstand und Länge der La- mellen variieren je nach gewünschter Offenheit oder Geschlos- senheit der dahinter befindlichen räume. Dadurch besteht die fassade aus zufälligen Mustern fließend angeordneter vertikaler elemente, die den eindruck von „zu eis erstarrter Musik“ hin- terlassen sollen. Bei nacht ist das Licht der poetisch gestalteten fenster ein beruhigendes element im stadtbild.

gestalteten fenster ein beruhigendes element im stadtbild. Projekt: Sydbank Hauptsitz, Flensburg Kunde: Sydbank

Projekt: Sydbank Hauptsitz, Flensburg Kunde: Sydbank Architekten: Exners Tegnestue A/S, Louise Lind Jacobsen, architect m.a.a. Århus, Dänemark

Detailansicht der Lamellenfassade COPPER FORUM 28/2010 11
Detailansicht der Lamellenfassade COPPER FORUM 28/2010 11
Detailansicht der Lamellenfassade COPPER FORUM 28/2010 11
Detailansicht der Lamellenfassade COPPER FORUM 28/2010 11
Detailansicht der Lamellenfassade
COPPER FORUM 28/2010
11

Dir-Pia Voutilainen von der Scandinavian Copper Development Association (SCDA) CEO-John Schonenberger vom European Copper Institute (ECI)

ISt KUPfEr IN DEr ArcHItEKtUr UMWEltGErEcHt?

Pia Voutilainen von der Scandinavian Copper Development association und John Schonenberger vom European Copper Institute zeigen auf, wie der Einsatz von Kupfer in der architektur mit dem EU-aktionsplan für nachhaltigkeit in Verbrauch und Produktion (SCP) im Einklang steht. Svalbard Science Centre

Die nachhaltigkeit ist gegenwärtig eine der prioritäten innerhalb der eu-politik. am 16. Juli 2008 hat die europäische kommis- sion den aktionsplan für nachhaltigkeit in Verbrauch und produktion und für eine nachhaltige industriepolitik (sCp/sip)vor- gelegt. im Mittelpunkt des aktionsplans steht ein dynamisches rahmenkonzept zur Verbesserung der umwelt-performance von produkten und zur steigerung der nach- frage nach nachhaltig gefertigte waren und nachhaltige fertigungstechnologien. Die Bauprodukten-richtlinie und die anste- hende regulierung haben dieselben ziele für die Baubranche. innerhalb der letzten Jahrzehnte hat die kupferbranche außerordentliche fort- schritte im Bereich umwelt und energieef- fizienz gemacht. Dank der innovationsar- beit der ingenieure dieser Branche konnten prozesse entwickelt werden, die bis zum heutigen tag zum einsatz kommen und zu den „besten verfügbaren technologien“ in der eu zählen.

ENErGIEEffIZIENZ

Der eigentliche Durchbruch bestand da- rin, die chemische energie des zugeführ- ten kupfererzes zu verwerten und damit zu verhindern, dass externe energie zum schmelzen des Metallgehalts des erzes zugeführt werden muss. tatsächlich führt dieser „schwebeschmelzverfahren“ (flash smelting) zu einem energieüberschuss, der in anderen stufen des produktionsprozesses verwendet oder in das Heizungsnetz einer nahegelegenen stadt eingespeist wird. zu- gleich wird das schwefeldioxid, das beim schmelzen freigesetzt wird, aufgefangen, um ein kommerziell hochwertiges neben- produkt zu erzeugen, und zwar die schwe-

felsäure. Dadurch wurde ein wichtiger Beitrag hinsichtlich der Verringerung des so genannten „sauren regens“ in europa geleistet. Die ingenieure haben auch beständig daran gearbeitet, die vielen verschiedenen metallhaltigen Verbindungen, die in den natürlich vorkommenden erzen enthalten sind, besser zu trennen. Heute eingesetzte Verfahren können sowohl die wertvollen Begleitbestandteile von kupfererzen wie Gold und silber herauslösen, als auch die verschiedenen im produktionsprozess an- fallenden stäube sammeln und entweder vor Ort recyceln oder Drittunternehmen zur aufbereitung zuführen. Das dann noch verbleibende mineralische Material wird insbesondere im straßenbau verwendet.

EMISSIONSBEScHrÄNKUNG

in den 1970er und 80er Jahren haben unternehmen mehrere Millionen in aus- rüstung investieren, um die emissionen in wasser und Luft zu verringern und so den immer schärferen Vorgaben bezüglich der umwelt zu entsprechen. Bei der fest- legung der standortzulassungsbestimmun- gen spielten lokale und nationale Behörden eine wichtige rolle. Dadurch konnte ein angemessenes Gleichgewicht zwischen dem schutz der umwelt und der erhaltung von arbeitsplätzen und investitionen vor Ort erreicht werden. kürzlich führten die neuen eu-weit gel- tenden rahmenrichtlinien zur reinhaltung von Luft, Boden, wasser und sedimenten zu einem neuen stärkeren schwerpunkt auf emissionen, sowohl für die fertigung als auch für die Verwendung der produk- te. zum festlegen sicherer Grenzwerte für Chemikalien, einschließlich der Metalle,

muss eine wissenschaftlich abgesicherte Methodik angewandt und ein umfangrei- cher Bestand an wissenschaftlichen Daten ausgewertet werden. Das alles ist sehr kom- plex und zeitaufwendig. unter dem Druck, den Bürgern eine zunehmend risikofreie umwelt zu bieten, geht die tendenz dahin, für die zukunft Grenzwerte festgelegt wer- den, die deutlich unterhalb der bisherigen Grenzwerte liegen. Dabei sollte mehr als in der Vergangen- heit einer ausgewogenen kosten-nutzen- analyse bezogen auf die Verringerung der Grenzwerte nachdruck verliehen werden, insbesondere für natürlich vorkommende elemente wie kupfer, wobei dessen rolle als essentielles spurenelement in allen Le- bewesen und die risiken eines Mineral- stoffmangels bei Menschen, tieren und pflanzen zu berücksichtigen sind.

BEtrÄcHtlIcHE INVEStItION DEr KUPfErBrANcHE

um die Behörden bei ihrer arbeit zu unter- stützen, hat die kupferbranche in den letz- ten acht Jahren mehrere Millionen euro in die entwicklung einer umfassenden risiko- bewertung der fertigung, der Verwendung und der Lebensdauer kupferhaltiger pro- dukte investiert. sie wurde umfassend von den Behörden geprüft und dann von der eu-kommission und den Mitgliedsstaaten genehmigt. sie bildet jetzt die Grundlage für erfüllung der pflichten der Branche ge- mäß der neuen reaCh-Verordnung.

Die

Verwendung

von

Kupfer

in

der

architektur ist in ganz besonderer weise umweltgerecht. außenanwendungen ha- ben eine ungewöhnlich hohe, oft in Jahr- hunderten zu messende Lebensdauer. am

Produkte aus Metall Metal Products Metal Products einsatz Use Use Corrosion Corrosion Korrosion und Verschleiß
Produkte aus Metall
Metal Products
Metal Products
einsatz
Use
Use
Corrosion
Corrosion
Korrosion
und Verschleiß
& Wear
& Wear
Metal
Metal
Metall-
Recycling
Recycling
Recycling
Extraction
Extraction
Complex
Complex
gewinnung
and
and
(Cu-EDTA)
(Cu-EDTA)
Komplex
und
Production
Production
Compound
Compound
Verbindung
-erzeugung
(Cu
(Cu
SO
SO
(OH
(OH
) )
4 4
4 4
6 6
Ion
Ion
Ion
(Cu
2 2
(Cu
+)
+)
Mineralisation
Mineralisation
Mineralisierung

Natürlicher Ablauf der Gewinnung und Mineralisation von Kupfer

ende seiner nutzung kann kupfer immer wieder ohne jeglichen Qualitätsverlust recycelt werden. Dabei er- fordert der recyclingprozess nur zwischen 10 und 20% der energie, die benötigt wurde, um das rohmetall zu gewinnen und zu verarbeiten. Die Branchenrisikobewer- tung hat auch festgestellt, dass architektonisch verwen- detes kupfer zu weniger als 1% zu allen diffusen emis- sionen von kupferprodukten in der eu beiträgt. und selbst dann, so zeigt die forschung, wird diese kleine Menge sehr schnell von den inerten und komplexbil- denden Verbindungen, wie z.B. Beton in der umgebung eines Gebäudes, gebunden.

schließlich liegt ein besonderer nachhaltigkeitsaspekt gerade in der art, wie das aus der erdkruste gewonnene kupfererz seine in ihm enthaltene energie im Verhüt- tungsprozess zur weiteren nutzung abgibt. Die Her- ausforderung besteht sowohl für die unternehmen als auch für die politiker darin, diesen klaren nutzen in die unzähligen Ökodesigntools, nachhaltigkeitsbewer- tungen, sozioökonomischen analysen, die mit Verwen- dungs- und Lebenszyklusbewertungen verknüpft sind, einzubeziehen. eine lange Lebensdauer und eine endlo- se wiederverwertbarkeit werden gegenwärtig noch nicht ausreichend in die derzeit in entwicklung befindlichen indikatoren eingebunden. Doch damit muss man sich befassen. Von besonderer Bedeutung für die Leser des Copper forum ist, dass die Branche durch die Bemühun- gen seiner nationalen Copper Development associations weiterhin nationale Behörden z.B. bei umweltdekla- rationen (epD = environmental product Declaration) unterstützt. unsere Lebenszyklusbestandsdatenbank – www.kupfer-institut.de/lifecycle/ – existiert seit 2003 und wurde in die eu-Datenbank aufgenommen.

somit lautet die antwort auf meine anfängliche frage, ob kupfer in der architektur umweltgerecht ist, auf jeden fall ja. in der architektur liefert kupfer eine lange Le- bensdauer, ist unbegrenzt wiederverwertbar und stammt aus einer Branche, die klar gezeigt hat, dass sie innerhalb des gesetzlichen rahmens der eu agieren kann.

sie innerhalb des gesetzlichen rahmens der eu agieren kann. The Core, Eden Project, Cornwall, GB Versuchshaus

The Core, Eden Project, Cornwall, GB

der eu agieren kann. The Core, Eden Project, Cornwall, GB Versuchshaus in GB mit Höchststufe 6

Versuchshaus in GB mit Höchststufe 6 bei der Bewertung zukunftsfähiger Häuser. Foto: Denis Jones

EUrOPEAN cOPPEr IN ArcHItEctUrE AWArDS

tHE rESUltS

The previous issue of Copper Forum (27/2009) highlighted five very different, exem- plary projects from around Europe, shortlisted for the European Copper in Architec- ture Awards 14. Winners of these Awards were announced at a presentation ceremony in London at the end of September 2009, as architect Chris Hodson reports.

This event proved to be as lively as ever, bringing together the Awards judges and designers of entered projects, as well as craftsmen and copper industry represent- atives. It was a clear demonstration of the growing interest in the architectural use of copper by European architects and their clients. It was particularly impressive that the architects of all five shortlisted projects presented their designs in detail at the event, and in some cases revealed more about them than was covered in the last Copper Forum. As a result, we are re- visiting two shortlisted projects later – but first, the winners.

Selected from five shortlisted projects, the outright Winner was the Archaeol- ogy Museum of Vitoria, Spain, designed by Mangado y Asociados. Extensive use of cast bronze elements creates contrasting elevational treatments. From the street it seems tough and hermetic with a real air of mystery enticing the visitor in. Then, it reveals more of its nature and grows in- creasingly open with the changing archi- tectural rhythm on entering the courtyard (more about this project on page 16–17). The judges were particularly impressed with the building’s stunning effect of a timeless fortress in its urban setting.

stunning effect of a timeless fortress in its urban setting. Also from Spain, Mediacomplex 22@ in

Also from Spain, Mediacomplex 22@ in Barcelona by Patrick Genard y Asocia- dos and Ferrater & Asociados was Highly commended by the judges for its superb response to a tight, complex urban set- ting, forming new public spaces of lasting value. Here, a solid, horizontal block clad with panels of perforated copper contrasts with a vertical tower shrouded in a strong vertical grid of deeply recessed, copper- faced screens.

Ticino House in Switzerland The Clip House in Madrid, Spain Frederikskaj project in Copenhagen, Denmark

Ticino House in Switzerland

Ticino House in Switzerland The Clip House in Madrid, Spain Frederikskaj project in Copenhagen, Denmark Three

The Clip House in Madrid, Spain

Ticino House in Switzerland The Clip House in Madrid, Spain Frederikskaj project in Copenhagen, Denmark Three

Frederikskaj project in Copenhagen, Denmark

Three other projects received commen- dations. Davide Macullo Architects’ sensi- tive design for the Ticino House responds to its beautiful rural setting in Switzerland and incorporates an extensive arrange- ment of copper mesh panels (more about this project on page 18–19). In complete contrast, the Clip House in Madrid, Spain, by Bernalte-León Asociados is a highly sculptural design defined by sinuous curving copper bands cantilevered from a vertical concrete spine. Finally, the judges considered Dissing+Weitling Architec- ture’s copper-clad Frederikskaj project in Copenhagen, Denmark to set the standard for high-density urban housing.

Denmark to set the standard for high-density urban housing. Stanton Williams’ Bristol Department Store The Bristol
Denmark to set the standard for high-density urban housing. Stanton Williams’ Bristol Department Store The Bristol

Stanton Williams’ Bristol Department Store

urban housing. Stanton Williams’ Bristol Department Store The Bristol Heart Institute, UK Private house, Mortsel,

The Bristol Heart Institute, UK

Bristol Department Store The Bristol Heart Institute, UK Private house, Mortsel, Belgium Acharacle Primary School,

Private house, Mortsel, Belgium

Bristol Heart Institute, UK Private house, Mortsel, Belgium Acharacle Primary School, Scotland, UK In addition, a

Acharacle Primary School, Scotland, UK

In addition, a discretionary award for Innovation was made for the inventive use of art applied to bronze panels on Stanton Williams’ Bristol Department Store. The essential role of craftsmen in realising designers’ aspirations for copper in architecture was also recognised with three craftsmanship awards for projects in Belgium and the UK.

The well-established Copper in Architec- ture Awards recognise architectural excel- lence and celebrate the use of copper in all its forms. The last two decades have seen their transformation from a UK-based programme highlighting craftsmanship, into a major, design-led Awards event for projects across Europe. For the first time, the 2009 Awards considered all entries together - judged by a European panel of eight architects and editors, chaired by Paul Finch, the recently appointed chair- man of CABE - the UK government’s advi- sors on architecture and urban design.

Article by Chris Hodson

on architecture and urban design. Article by Chris Hodson The European Copper in Architecture Awards programme

The European Copper in Architecture Awards programme is part of the Euro- pean Copper in Architecture Campaign, promoted by the UK Copper Development Association and participating copper fab- ricators. All five shortlisted projects were explored in the last issue of Copper Forum (27/2009) and full details of Awards 14 and previous Awards can be found at:

www.copperinfo.co.uk/arch or www.copperconcept.org

EUrOPEAN cOPPEr IN ArcHItEctUrE AWArDS

WINNING BrONZE

The Archaeology Museum of Vitoria in Spain, designed by Mangado y Asociados is a

worthy winner of the 2009 European Copper in Architecture Awards. In the last issue of

Copper Forum (27/2009) the architect described the design’s development, illustrated

by photography of the finished project. But other material continues to reveal more

about this multi-faceted and influential building. Here, Catherine Slessor, Editor of the

Architectural Review magazine and one of the Awards judges, reviews it and interviews

its architect.

COntEXt

In the heart of Vitoria’s crumbling historic core, Francisco Mangado’s new archaeo- logical museum stands out. Soberly ac- coutred in a corrugated bronze carapace, it is a conspicuous contemporary inter- vention, yet it seems determined to blank

out its surroundings. Windows set in exag- geratedly deep reveals are like sightless eyes, reflecting back only peeling walls, tottering balconies and scudding skies. From a distance it appears as a dense, dark, almost geological presence that has somehow erupted out of the ground.

as a dense, dark, almost geological presence that has somehow erupted out of the ground. 1
as a dense, dark, almost geological presence that has somehow erupted out of the ground. 1
COnCEPt The character of the building is strongly defined by the choice of bronze, an

COnCEPt

The character of the building is strongly defined by the choice of bronze, an alloy of copper, and the way it has been appro- priated to devise an inventive and visually distinctive cladding system. But the mate- rial is also both functional and economi- cal. For Mangado, bronze was the obvious option because ‘it has a strong archaeo- logical resonance.’ Bronze was one of the first metals to be exploited by humans and it is particularly appropriate for a museum that explores very ancient history and has many bronze artefacts in its collection. Up close, the ribbed walls appear less like a carapace and more like a kind of woven metal textile. In most places, the bronze weave is tight and impermeable, but around the courtyard it is much looser, with glazing exposed behind.

COPPER

And though the facade has an impressive sense of weight and sobriety, there’s a sleight of hand at work. As it would have been too costly and impractical to cast the larger pieces as solid elements, a wafer thin veneer of bronze is simply wrapped around timber forms.

You have to reconcile ideological and meta- phorical aspirations with the practical quali- ties of the material,’ says Mangado.

The ancient Egyptians did the same kind of thing with stone to create an illusion of mass. So architecture is all about fooling people, but in a wonderful way.’

an illusion of mass. So architecture is all about fooling people, but in a wonderful way
an illusion of mass. So architecture is all about fooling people, but in a wonderful way
an illusion of mass. So architecture is all about fooling people, but in a wonderful way
an illusion of mass. So architecture is all about fooling people, but in a wonderful way
an illusion of mass. So architecture is all about fooling people, but in a wonderful way
an illusion of mass. So architecture is all about fooling people, but in a wonderful way

EUrOPEAN cOPPEr IN ArcHItEctUrE AWArDS

AlPINE cOPPEr IN cONtEXt

In complete contrast to the previous project, this House in Ticino, southern Switzerland – Commended in the

Awards and featured in the last issue of Copper Forum (27/2009) – is a modest building forming an integral part

of its Alpine setting. But it is also firmly rooted in a developing heritage of important modern movement houses in

Ticino and rigorously carries through its essential character from concept to detail. Its architect Davide Macullo

made the following presentation at the 2009 Awards event.

COntEXt

Ticino is located in the southernmost part of Switzerland, an area characterised by

a pre-Alpine landscape of peaks and deep

valleys. Early in the 20th century, “cultural immigrants” began moving to the area, in- cluding some of the great modern move- ment architects with ideas and projects that sought to explore a new way of build- ing in this Alpine context. The Anatta House (1) was built early last century to house a family that was part of this community of foreign intellectuals who had settled in

this territory in order to enjoy a way of life in harmony with nature. This house is the first sign of modernisation in a rural area.

It introduces large horizontal planes that

contrast with the landscape and uses the concept of framing the landscape through large openings.

Many other architects of the modern movement have attempted to deal with the area: Neutra, Breuer, Le Corbusier and Mies van der Rohe are some that proposed projects here. Neutra’s Tuia House (2) and Bucerius House (3), both built in the 1960s, adopt the modern construct in emphasis- ing the horizontal and create an object that detaches itself from its context. The Koefer House (4) by Marcel Breuer, built not far from those of Neutra, again adopts the idea of horizontality and, in addition, uses planting as an integrated element of the project.

With the second generation of Ticinese ar- chitects, we see a shift in attitude whereby the relationship of the building to the land-

scape becomes much more dominant. We see a move away from the horizontal planes towards a volumetric architecture that rises up from the terrain, allowing the landscape to continue to roll with its natu- ral contour. The Rotalinti House (5) by Gal- fetti is an example of this. Rising up as an extension of the rock and dominating the landscape, it places the constructed vol- ume as the new protagonist of the place.

In a similar way Botta’s architecture (7) dominates the landscape as an element inserted between the earth and the sky, recalling a memory of a building anchored to the ground as a solitary bastion. In the 1970s, we see the emergence of another approach to building in the landscape with local architect Luigi Snozzi’s Kalman House (6) which places the dominant object within the folds of the landscape. Since the early 1970s urban development in the area has witnessed a rapid growth – a growth that still shows no signs of slowing. The existing modern models described here continue to be emulated by speculators and there is no longer a distinction be- tween the fabric of the urbanised valleys and that of the natural slopes. Both areas are dealt regarded as the having the same or, at best, similar, building typology.

But, in today’s climate, this attitude re- quires reassessment. It needs to become one more of reading and working with the existing folds and lie of the land, rather than one of reproducing past models, de- tached from their context.

1

3

5

7

9

past models, de- tached from their context. 1 3 5 7 9 2 4 6 8
past models, de- tached from their context. 1 3 5 7 9 2 4 6 8
past models, de- tached from their context. 1 3 5 7 9 2 4 6 8
past models, de- tached from their context. 1 3 5 7 9 2 4 6 8
past models, de- tached from their context. 1 3 5 7 9 2 4 6 8
past models, de- tached from their context. 1 3 5 7 9 2 4 6 8
past models, de- tached from their context. 1 3 5 7 9 2 4 6 8
past models, de- tached from their context. 1 3 5 7 9 2 4 6 8

2

4

6

8

past models, de- tached from their context. 1 3 5 7 9 2 4 6 8

8–9. House in Carabbia

COnCEPt The approach advocated here is one of harmony, where the smallest of folds in
COnCEPt The approach advocated here is one of harmony, where the smallest of folds in
COnCEPt The approach advocated here is one of harmony, where the smallest of folds in

COnCEPt

The approach advocated here is one of harmony, where the smallest of folds in the land become impor- tant and where the majesty of the landscape humbles even the greatest of architectural gestures.

The house is characterised as a series of small monolithic volumes perched on the natural slope of the land and is surrounded by nature. The site was previously home to a cluster of typical old rural buildings and elements of the new house echo this. The new construction retains the footprint of these old buildings, as four volumes with a 14 meter-square ground perimeter and, with its sloped roof recall the form of these former structures.

The design concept fits into the contextual argument in as much as its constructed volumes embrace the land organically. The construction follows the slope in a fluent sequence of spaces, each relating to each other and to the surrounding landscape. In order to relate an identity and a language to the inhabitants, the project has a strong and precise geometric form. The living spaces at different levels ensure that all the surrounding natural landscape can be ‘lived in’. All spaces - even at different levels - have a direct relationship with the external environment. The land- scape appears to flow through these volumes that become protected living spaces: a continuation of the green environment integrated into the house.

COPPER

The house follows the principles of building with or- ganic recyclable materials such as wood and copper. In addition, parts of the house such as the founda- tions and basement have been constructed in rein- forced concrete. The emerging structure is made of wood and clad with copper. The cladding is made up of copper plates and the facade elements, in stretched copper mesh, also act as a rain screen. The vertical pattern of the copper mesh cladding renders the con- struction system visible and reduces the scale of the building.

The use of copper in the House in Ticino highlights how extraordinary a material it can be when its trans- parent and reflective characteristics are exploited. It gives a depth to surfaces whereby across the day they are continually rendered differently, much like a monochromatic painting. As the sun moves about the house, each surface is constantly morphing colours. Used in this sense, the material demonstrates an un- expected expressiveness.

morphing colours. Used in this sense, the material demonstrates an un- expected expressiveness. COPPER FORUM 28/2010
morphing colours. Used in this sense, the material demonstrates an un- expected expressiveness. COPPER FORUM 28/2010
morphing colours. Used in this sense, the material demonstrates an un- expected expressiveness. COPPER FORUM 28/2010

COPPER StRIKES GOlD By Chris Hodson

COPPER StRIKES GOlD By Chris Hodson One of the most exciting recent developments for copper as

One of the most exciting recent developments for copper as a modern architectural material for fa- cades is the introduction of an alloy with a striking warm golden surface.

This material is an alloy of copper with aluminium and zinc, which is very stable and keeps its golden shade over time.

It behaves differently to pure copper, which develops a dark

brown colour with oxidisation followed by its distinctive green patina. The golden alloy has a thin protective oxide layer containing all three alloy elements when produced. As

a result, the surface retains its golden colour indefinitely and simply loses some of its sheen as the oxide layer thickens with exposure to the elements, with a matt appearance.

As well as exuding a sense of visual richness and quality, the golden alloy offers outstanding mechanical abrasion resist- ance, extremely high corrosion resistance and durability as well as excellent stability and material rigidity. The mate- rial can be easily cold-shaped and processed using standard techniques. Both leading copper fabricators offer very simi- lar versions of the golden copper alloy, demonstrated on the two recent UK projects which follow. Luvata’s Nordic Royal is used to envelope an intriguing lakeside visitors shelter (page 22–23) while KME’s TECU Gold highlights a concert hall’s new foyer building (page 24–25).

Finally, as we go to print, two more projects are being built using golden copper alloy which we plan to revisit in detail in future issues, once completed.

golden copper alloy which we plan to revisit in detail in future issues, once completed. 2
golden copper alloy which we plan to revisit in detail in future issues, once completed. 2
golden copper alloy which we plan to revisit in detail in future issues, once completed. 2
golden copper alloy which we plan to revisit in detail in future issues, once completed. 2

GOlDEN cOPPEr AllOY

A ‘PRECIOUS METAL’ MUSEUM FOR STOCKHOLM

Near Vasaparken in the heart of Stockholm, the building of a new art museum has recently start- ed, designed with facades and roofs in cassettes of golden copper alloy, due for inauguration at the beginning of 2011. Architect Anna Höglund of Wingårdhs Arkitektkontor AB describes the build- ing as: “Like a piece of jewellery made of a pre- cious metal and with a sparkling diamond on top of the roof. Severe on the outside but surprising inside – culture meets everyday life. The Nordic Royal facade gives a solid impression, matching the brick and render facades of the surrounding buildings, all familiar materials that will age with dignity. The building is raised on a platform with a tall, glassed-in entrance floor that erases the boundaries between inside and outside and will attract visitors. A big park, Vasaparken, reaches all the way to the building, where the greenery continues with plants climbing up the facade. Nordic Royal wires stretch around the facade, conjuring up images of a wrapped parcel with rib- bons of gold.”

up images of a wrapped parcel with rib- bons of gold.” CREATING AN IMPRESSION IN TROMSØ

CREATING AN IMPRESSION IN TROMSØ

Diagonally mounted panels of Nordic Royal define the architecture of this extension to the Quality Hotel Saga in a central location of Tromsø, Nor- way. The golden facade cladding gives an air of exclusivity and reinforces the building’s central importance in the townscape for passers-by. The facade is not striving to create a superficial ‘wow factor’ but rather to become a long-term, high- class and convincingly craftsman-like edifice that lives-up to its location in the centre of town near the cathedral. The detail and craftsmanship of the golden facade aim to reflect other examples of quality in the surroundings – including nearby brick facades, the roughcast elevations of the art museum and the wooden facades of other historic buildings.

Design: Arkitektkontoret Amundsen AS, Tromsø and Foundation 5+, Germany

historic buildings. Design: Arkitektkontoret Amundsen AS, Tromsø and Foundation 5+, Germany COPPER FORUM 28/2010 21

By Chris Hodson

Freya´s Cabin Kielder Water
Freya´s Cabin
Kielder Water

the first project using luvata’s Nordic royal alloy in the UK is a symbolic lakeside shelter informed by a fairytale created by its designers Studio Weave.

studio weave create places through playing into and exploring the narratives of spaces. They are fascinated by the powerful role that stories play in creating a sense of place. Their work explores how writing stories stemming from the history, geogra- phy and eccentricities of a place can create engag- ing and distinctive design proposals. freya’s Cabin is one of a pair of allegorical visi- tors’ shelters by studio weave overlooking kielder water, northern europe’s largest man-made lake. These and four other new shelters along the Lake- side way – a 27-mile long walking trail around the reservoir – form part of a series of new artistic and architectural interventions within the kielder wa- ter and forest park. with freya’s Cabin and robin’s Hut, studio weave have embraced the man-made nature of the reservoir and park, thinking of it as a stage set against which a story can be told. Their two struc- tures have been imagined within a fairytale that the designers wrote specifically for kielder, inspired by the two sites, mythology and folklore. within the story, freya’s Cabin and robin’s Hut are designed and built by the characters: the real structures of- fer visitors evidence of these characters and their adventures.

The Cabin is raised up on golden metal ‘stems’

The Story of Freya and Robin

The Story of Freya and Robin Robin’s Hut is on the North bank, on the edge

Robin’s Hut is on the North bank, on the edge of the woodland amongst fir trees and rocks. Robin built himself a simple wooden structure that he covered in timber shingles on this site surrounded by water that he felt gave it a remote, island-like feel. Freya is named after the Norse goddess of love, beau- ty and fertility. The goddess loves spring, music and flowers, is very fond of elves and fairies, and is known - on occasion of great sadness - to cry tears of gold. Freya loved to take long walks collecting flowers and pressing them to decorate everything around her. Freya fell for Robin and showed her affection by making him the gift of an intricate cabin in the im- age of the woodlands he so loved. She chose a spot op- posite and aligned with Robin’s Hut to give Robin the best chance of seeing the Cabin. She modeled it on her flower press, arranging carefully collected branches to

make an enchanted forest. She put Foxgloves at the en- trance to invite the fairies in, then pressed everything tight together so the cabin would be strong and crisp and last forever. When she sees Robin rowing off on an adventure, Freya cried tears of gold and wrapped the cabin in them. Meanwhile, Robin turned his head to look back at the lake he loved and noticed something glinting in the distance. He was so curious that he decided to row back and find out what it was and there, of course, was the golden Cabin and Freya. He was moved by the cab- in and invited Freya on his adventure with him. They didn’t leave very long ago, so they are still away adventuring, but if you can find it, you can see Robin’s wooden hut and the golden cabin that Freya made for him, facing each other across the lake, awaiting their return.

The prefabricated Nordic Royal sheets are pierced to represent golden tears Robin’s Hut, a simple
The prefabricated Nordic Royal sheets are pierced to represent golden tears Robin’s Hut, a simple

The prefabricated Nordic Royal sheets are pierced to represent golden tears

Nordic Royal sheets are pierced to represent golden tears Robin’s Hut, a simple timber construction, looks

Robin’s Hut, a simple timber construction, looks towards Freya’s Cabin across the lake

construction, looks towards Freya’s Cabin across the lake Although the same form as Robin’s Hut, Freya’s

Although the same form as Robin’s Hut, Freya’s Cabin contrasts with intricate layers and a golden copper covering

GOlDEN cOPPEr AllOY

layers and a golden copper covering GOlDEN cOPPEr AllOY freya’s Cabin is the same size as

freya’s Cabin is the same size as robin’s Hut, measuring 2.5 m x 3.6 m x 3.75 m tall, and sits about 3 m above the Lakeside way. The Cabin is constructed from CnC-cut plywood layers pressed together, with each layer having a cutout shape like a stage set. The structure is held together with glue and tension rods that fix through pre-drilled holes in every layer. some of the layers, including the bal- ustrade of the lake-side front, are clear acrylic. This allows light into the middle of the structure and creates a forest-cover-like affect.

The structure is raised up off the ground with lots of golden metal “stems” randomly arranged and “planted” into the concrete foundations. pre- formed trays of Luvata’s nordic royal sheets have been used to wrap the roof, sides and underside of the Cabin. The sheets were perforated to symbolise freya’s golden tears.

Project: Freya’s Cabin, Kielder Water and Forest Park, Northumberland, UK

client: Kielder Partnership

Designers: Studio Weave

Structural Engineers: Price and Myers

contractor: Millimetre

copper Supplier: Luvata Sales Oy (UK)

Photos and illustration: courtesy of Studio Weave. Snow photo: Peter Sharpe

By Chris Hodson

COLSTON HALL FOYER BUILDING BRISTOL

tEcU ® Gold copper alloy cladding defines the architecture of a new foyer building helping to transform Bristol’s premier music venue from a tired municipal concert hall into one of the UK’s leading performance centres.

The design of the new foyer extension attempts to remedy this by creating a local landmark with a strong independent character which can be clearly identified within a densely developed part of the city’s centre. There is a contextual basis to many of the major design decisions concerning the building’s distinctive shape and organisation, even though the result is unlike anything nearby. Its curved form relates to its immediate, essentially medieval con- text and its scale mediates between the old houses in Pipe Lane and the larger bulk of the Hall itself. It effortlessly accommodates substantial level changes between adjoining streets by incorpo- rating entrances of equal importance on each street.

Golden Copper Identity

The principal cladding material is an alloy of copper and alumin- ium chosen to respond to the brief for a bold and visible build- ing. Its gold colour has a tonal relationship with the beige and red bricks of the adjoining buildings. Just as the timber internally resonates with the string instruments of an orchestra, the cop- per shingles evoke the brass section, with constant variations of light enhanced by the curved geometry of the building form. The malleable nature of the material is expressed in the detail of the shingles, which are peeled back to form gill-like openings to ven- tilate the plant rooms.

The windows recall the punched holes of an old music roll or the texture of encoded data on a CD, and have a relationship to the shingle size, being multiples of a 300 mm module, based on the rhythms denoted by musical time signatures; and there is also the hint of a graphic representation of a sheet of music. These ideas have provided a framework for an apparently random pattern of window openings which increase in scale as they move from the private functional parts of the building to the public spaces that face towards the centre of Bristol.

Sustainable building technologies and construction have been important factors underlying the design. The selection of building materials and construction techniques has been driven by envi- ronmental considerations and the copper cladding is made up of at least 70% recycled material.

The Colston Hall is Bristol’s principal music venue. The main hall was opened in 1867 as an assembly hall to rival St. George’s Hall in Liverpool. It has been radically remodelled three times since then, the last occasion being in 1951. But now an ambitious three- phase project aims to update all the facilities and create a modern complex attracting audiences of all ages and all musical tastes. This first phase is a spacious new foyer, with its own informal per- formance area, which forms a link between Bristol’s Centre and its West End.

transforming the Concert Experience

The new foyer building design by architects Levitt Bernstein has an independent architectural identity, expressing the desire to provide Bristol’s public with an entirely new concert-going expe- rience. It accommodates foyers, interval bars, cafes, administra- tive offices, education studios and an open performance area. The purpose of the new foyer building is to transform Bristol audienc- es’ perceptions of concert-going. It is a new participatory space, providing better facilities for all visitors and aiming to attract people who may find aspects of concert-going etiquette aloof and challenging. Its vast central space is a showcase for people and events, available to the citizens of Bristol throughout the day.

The development of this pivotal site in the centre of the city is in- tended to act as a transformational catalyst for the future of the surrounding area. When first built the Colston Hall occupied a prime position, just yards from the old city boundary and Bristol’s thriving docks, located on a new road cut through the medieval streets to speed the progress of goods through the city towards the north. Since then, however, its position has become increas- ingly peripheral and, during the 20th century, an unsympathetic traffic-clogged backwater.

GOlDEN cOPPEr AllOY

GOlDEN cOPPEr AllOY The golden copper skin is peeled back to form gill-like ventilation openings Project:

The golden copper skin is peeled back to form gill-like ventilation openings

skin is peeled back to form gill-like ventilation openings Project: Colston Hall Foyer Building, Bristol, UK
skin is peeled back to form gill-like ventilation openings Project: Colston Hall Foyer Building, Bristol, UK
skin is peeled back to form gill-like ventilation openings Project: Colston Hall Foyer Building, Bristol, UK
skin is peeled back to form gill-like ventilation openings Project: Colston Hall Foyer Building, Bristol, UK
skin is peeled back to form gill-like ventilation openings Project: Colston Hall Foyer Building, Bristol, UK

Project: Colston Hall Foyer Building, Bristol, UK client: Bristol City Council Architects: Levitt Bernstein Structural Engineers: Arup copper Installer: Richardson Roofing copper supplier: KME UK Photos: Andrew Cross, KME

By Chris Hodson

By Chris Hodson a lanDMaRK hOtEl FOR DOnCaStER A distinctive new hotel in the centre of
By Chris Hodson a lanDMaRK hOtEl FOR DOnCaStER A distinctive new hotel in the centre of

a lanDMaRK hOtEl FOR DOnCaStER

A distinctive new hotel in the centre of Doncaster, an historic town in South Yorkshire in the north of England, is the first UK project to be clad with luvata’s Nordic Green living pre-patinated copper.

The pivotal site is on the corner of High Fisher Gate and Church Way, and close to the Market Conservation Area. The de- sign – by Cartwright Pickard Architects - is intended as a landmark reconciling two different urban characters: the intimate, small scale of the Market Conservation Area contrasting with the larger, broad- er scale of Church Way with its bigger buildings including the 19th century St. George’s Church designed by Sir Gilbert Scott (the architect of London’s St Pan- cras International Station).

RECOnCIlInG DIFFEREnt GEOMEtRIES

The new 140-bed hotel also includes shopping facilities, continuing existing re- tail uses in High Fisher Gate and introduc- ing them into the potentially high-profile Church Way. The new building recognis- es the two existing geometries of these streets. Two distinctive blocks follow the existing roads and are linked by a prow- like corner, helping to reconcile the two geometries and creating a distinctive fea- ture on the prominent corner.

The northern block is six storeys high at its West side. Here, a distinctive vertical ele- ment sits on the corner of the site, at the base of which is the entrance to the hotel. To the East, and towards the Market, the northern block steps down to three sto-

reys. The southern block is visually five sto- reys, with the sixth sitting well back from Church Way. This block is lower to main- tain a scale in sympathy with St George’s Church, and to replicate the height of the eaves of the church. Throughout, vertical emphasis is reinforced by the composition

of the fenestration, the expressed struc-

ture and projecting bays.

DESIGn FREEDOM WIth COPPER

A key element of the building’s design is

the use of Luvata’s Nordic Green Living pre-patinated copper cladding to create an abstract surface made up of horizon- tally orientated bands of varying heights. Nordic Green Living offers architects un- paralleled design freedom and the abil- ity to determine the type and intensity of patina. The factory process can be accu- rately controlled so that, as well as the

solid green patina colour, other intensities of patina flecks can be created revealing some of the dark oxidised background material. On this project, three different intensities – ranging from solid Traditional Nordic Green to a special finish developed to meet the architect’s requirements - were used in apparently random combina- tions, adding richness to the flat facades.

Cartwright Pickard Architects Director Peter Cartwright explains: “We had seen some really good photographs of pre- patinated copper buildings in Finland. We were excited by the potential for ‘variegat- ed’ copper to add life and real interest to the façades both in texture and colour. The variation in the copper on the final build- ing had to look quite random but we actu- ally specified the positions of each panel to ensure that the facades met our design and satisfied the local planners – which it certainly did.

EnVIROnMEntallY SOUnD MatERIalS “We believe that this variegated copper gives us a contemporary façade suited
EnVIROnMEntallY SOUnD MatERIalS “We believe that this variegated copper gives us a contemporary façade suited

EnVIROnMEntallY SOUnD MatERIalS

“We believe that this variegated copper gives us a contemporary façade suited to such a prominent site and contrasting well with the adjoining terracot- ta panels. Sustainability is also very important to us as a practice, including selection of environmentally sound materials. The local planners’ design guide led to the use of living, planted roofs and required other materials that will be easy to maintain and im- prove with age.”

The new hotel aims to set a high standard for design and construction, as well as for quality materials – which are particularly important with the building’s close proximity to the historic St. Georges church.

“We were excited by the potential for ‘variegated’ copper to add life and real interest to the facades”

Photo courtesy of Cartwright Pickard.

Copper panel layouts

Photo courtesy of Cartwright Pickard. Copper panel layouts Typical floor plan Project: Premier Inn Hotel, Doncaster
Photo courtesy of Cartwright Pickard. Copper panel layouts Typical floor plan Project: Premier Inn Hotel, Doncaster
Photo courtesy of Cartwright Pickard. Copper panel layouts Typical floor plan Project: Premier Inn Hotel, Doncaster
Photo courtesy of Cartwright Pickard. Copper panel layouts Typical floor plan Project: Premier Inn Hotel, Doncaster

Typical floor plan

Project: Premier Inn Hotel, Doncaster client: Premier Inn Architects: Cartwright Pickard Architects copper Installer: Varla UK copper Supplier: Luvata Sales Oy (UK) Photos: Where indicated, photo courtesy of Cartwright Pickard Architects (copyright Daniel Clements). Other photos: Graeme Bell, Luvata.

COPPER INSPIRATION

Exploring the latest techniques including press modelling, perforation and surface treatments

Throughout history copper has always fascinated people with its naturally chang- ing surface, malleability and unique visual characteristics. Architects and artists continue to find inspiration and seek new possibilities with this most adaptable ma- terial and the copper industry is keen to work closely with them in realising new concepts.

Elsewhere in this issue of Copper Fo- rum there are numerous examples of the diversity that copper offers architects, ranging from the new golden alloys to the development of variable pre-patinated finishes. In this and in previous issues we have also seen the many different clad- ding and roofing techniques available, as well as the individual work of artists and interior designers using copper. But innovation in response to the imagi- native demands of today’s designers con- tinues. Here, we explore just some of the latest copper techniques available now.

just some of the latest copper techniques available now. ShaPInG thE FUtURE A completely new kind

ShaPInG thE FUtURE

A completely new kind of press modelling technology for copper offers a new design freedom by introducing three-dimension- al shapes and decorative elements into façade design. It also provides endless op- portunities in interior design and decora- tion, cladding and mouldings. Digital press

modelling is a highly automated system for sheet copper which takes three-dimen-

modelling is a highly automated system for sheet copper which takes three-dimen-
modelling is a highly automated system for sheet copper which takes three-dimen-
modelling is a highly automated system for sheet copper which takes three-dimen-
modelling is a highly automated system for sheet copper which takes three-dimen-

sional design straight from the designer’s desk to the finished product.

sional design straight from the designer’s desk to the finished product.
sional design straight from the designer’s desk to the finished product.
sional design straight from the designer’s desk to the finished product.
sional design straight from the designer’s desk to the finished product.
straight from the designer’s desk to the finished product. tRanSPaREnCY anD OPaCItY The use of copper
straight from the designer’s desk to the finished product. tRanSPaREnCY anD OPaCItY The use of copper

tRanSPaREnCY anD OPaCItY

The use of copper mesh and perforated copper sheets offers a fresh design di- mension for buildings. They can be used externally as rain-screens, solar shading and opaque cladding - or internally as par- titions, screens and other interior design elements. Transparency can be generated by stretching or piercing copper sheet, or weaving copper wire into a mesh. Copper sheet is easy to water-cut and perforate in various ways and the different shades of colour and surface treatments widen the design possibilities even further. An impressive example of perforated copper technology is the Parventa Library build- ing in Latvia (featured in the last issue of Copper Forum CF27/2009). Here, the sizes of perforations were varied to generate text graphics quoting the lyrics of Latvian folk songs!

RICh anD VaRIED SURFaCES

The surface of copper is vibrant, multi-

faceted and ever changing: the glowing, lively surfaces and individual colours are

a source of inspiration for creative minds. But advanced technology provides scope

for a rich diversity of colour shades enable applications beyond architecture. Copper

is a versatile and durable natural material

the surface of which is easy to vary by pati-

nating, moulding or dyeing. Individual sur- faces can be produced for either custom- made bulk products or one-off projects. Copper withstands different treatments extremely well and moulding, shaping or patination does not weaken the quality of the material. It is certainly worth experi- menting with these new types of prod- ucts.

IntERIOR InSPIRatIOn

Copper is ideal for interior design instead of conventional materials or in combina- tion with them. The surface of copper can be varnished or waxed to preserve its distinctive colour and shine indoors. The applications for copper internally are end- less - on ceilings, kitchen cupboards and surfaces (where the material’s anti-mi- crobial properties are important), corner mouldings and detailing (to provide con- tinuity throughout an entire building), and feature elements such as fireplaces and light fittings.

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ISLAND COPPER

ISLAND COPPER Designing a holiday home for this sensitive location on an is- land surrounded by

Designing a holiday home for this sensitive location on an is- land surrounded by nature and lakes, situated in the northern part of the netherlands pre- sented architect paul van den Heuvel with various challenges. a planning regulation limiting the floor area to 75 m 2 con- flicted with the client’s need to maximize usable space. The house also had to fit into the natural landscape in a subtle way without compromising its contemporary design.

MEEtING cONflIctING DEMANDS

two distinct roof volumes – separated and perpendicular to

one another – define the build- ing. Their surfaces have been devised using pre-patinated copper

one another – define the build- ing. Their surfaces have been devised using pre-patinated

copper of three different inten- sities of green speckled against

a dark oxidized background.

These varied colours are used

in a composition of long, nar-

row copper strips with different

widths to give a rich, natural texture. Beneath one roof vol- ume is the living room while

the other sits over the bedrooms

and an extra bathroom.

a freestanding staircase sits

outside the main house area, so that it does not count towards the area limit of the house.

a glazed skin folds around this

staircase and lands on top of the copper roof. This glazing is dec- orated with enlarged images of micro-organisms living locally in the water. to address winter

flooding, when the water can encroach onto the garden, the

house is constructed on a wide wooden deck ‘bridge’ above the lawn and the lake, which gives the impression of the house floating independently of the

landscape.

MAXIMISING NAtUrAl

SUrrOUNDINGS

to maximize the relationship between interior design and exterior nature, glazed facades

are used around the house of

A simple but clever holiday home takes a thoroughly modern approach to copper roofing, maximizing usable space while respecting its water-side setting.

usable space while respecting its water-side setting. which several can be slid open. This enables the

which several can be slid open. This enables the natural sur- roundings to give a spectacular internal setting. as the 75 m 2 maximum floor area require- ment excludes roof overhangs, these have been added gener- ously, providing solar shading to the glazed facades. The roofs rest on columns running up from the wooden deck around the house. together, the rhyth- mically placed columns and overhanging roof volumes give the house depth and stratifica- tion with a structured, abstract quality.

internally, walls and cupboards have been devised in one mate-

rial, fleeting into each other and becoming one entity. Gentle colours referenced from outside are used internally. The colour palette is light grey/green for the walls and light oak wood for floors and furniture. The individual objects of furniture are lightweight elements within the space.

externally, a landscape archi- tect has carefully reinstated the surrounding to minimize the impact of the house. a wooden wharf and paths form the con- nection between the water-side and the house.

Hakaniemenranta 6
Hakaniemenranta 6

renovation building projects make it possible to develop the existing building stock and the built-up environment. hakaniemenranta 6 is an excellent example of the renovation of a 1970s office building. The new innovatively designed windows as well as the glass and copper façades integrate the building in a natural manner in the townscape of Helsinki. The rhythm of the new façades is also an outward reflection of the new functional structure of the building.

Background

The eight-storey office building designed by architect kaj salenius was originally built in 1975. The building was designed accord- ing to the values and structural engineer- ing principles of the time in the boundary zone between the built-up downtown block structure of Hakaniemi and the open 1970s prefabricated concrete estate of Merihaka.

The powerful screen-like façade and the small windows were realised using load- bearing prefabricated concrete façades. The total size of the building rendered it a monotonous, enclosed appearance. The lo- cation is excellent and for its part creates the Hakaniemi façade toward the Cape of Helsinki. The building has by no means been indif- ferent to the townspeople. for almost 35 years it has stood as a recog- nisable landmark of Hakaniemi. as a prod- uct of its own era, it received also criticism and in the 2000s won in a public vote the title of the ugliest building in Helsinki. The townscape was only part of the prob- lem, however, since the usability and the engineering systems of the building had be- come obsolete. The prefabricated concrete technology of the 1970s failed in the façades and the exter- nal envelope of the building had to be com- pletely replaced for technical reasons. The frame dimensioning of the building and the location of the stairwells inside the building frame, on the other hand, represent a good standard.

esko Miettinen, Architect SAFA

Design solutions

The character of the old building should never be destroyed in a renovation project, but new structures should be designed to re- inforce the significant characteristics of the building. History is not denied but com- bined with a new layer into a synthesis. it is easier to understand this principle if we consider e.g. the renovation projects car- ried out on the red brick buildings of early nineteen hundreds where skilful old details preserve the layered feeling of the time peri- ods. The buildings built in the 1970s pose a different challenge, but it is still a question of a synthesis of the old and the new. The building mass is great and cannot be integrated in the surrounding town struc- ture. Yet, we did not want to lose and frag- ment the handsome body of the building. we wanted to create an interesting and positive contrast and dialogue with the en- vironment and introduce new small-scale elements to the building. The starting point was to open up the building into its environment and most of all in the prominent direction; toward the sea. with the building mass divided into parts by means of a recessed façade, the new entrance becomes apparent in one glance. The load-bearing inner concrete shell of the façades was enclosed in a white and clean screen-printed glass cladding with a matte surface. textile artist Outi Martikai- nen from our office also contributed to the design of the elaborate screen-print pattern. The pattern is not distinguishable from a distance, but at close range adds another

Text by Antti-Matti Siikala

layer in the pedestrian’s scale. Light and shade are also part of the façade. The theme of ice boulders is well suited to the shore area in Hakaniemenranta. This also repeated the historical tradition of including art as a part of the design proc- ess and the resulting architecture.

part of the design proc- ess and the resulting architecture. Layout plan, Hakaniemenranta, Siltasaari Strait, Cape

Layout plan, Hakaniemenranta, Siltasaari Strait, Cape of Helsinki.

Connection of the copper net to the building plinth. The construction of the new glass

Connection of the copper net to the building plinth.

Connection of the copper net to the building plinth. The construction of the new glass façade.

The construction of the new glass façade.

building plinth. The construction of the new glass façade. Top and bottom joint details of the
building plinth. The construction of the new glass façade. Top and bottom joint details of the

Top and bottom joint details of the copper net façades.

Top and bottom joint details of the copper net façades. The copper façade, view from west.
The copper façade, view from west. The transparency of the copper net varies to some
The copper façade, view from west. The transparency of the copper
net varies to some degree according to lighting conditions.

South, east, north and west elevations.

Project: Hakaniemenranta 6 Renovation Completed: 2009 Client: Senaatti-kiinteistöt architect: Arkkitehtitoimisto Sarc

Project: Hakaniemenranta 6 Renovation

Completed: 2009

Client: Senaatti-kiinteistöt

architect: Arkkitehtitoimisto Sarc Oy, Antti-Matti Siikala, Architect SAFA

Main contractor: SRV

Copper supplier: Tammet Oy

Photo: Jussi Tiainen, Eark

Original ground plan, third floor.
Original ground plan, third floor.

New ground plan, first floor.

ground plan, third floor. New ground plan, first floor. A view from the new interior to

A view from the new interior to the patio.

Activities and internal areas

The renovation of the outward appearance of the building and the enhancement of the

quality level are also reflected in the design of the interior spaces, with attention paid to increasing the amount of daylight and external views, to creating a general feeling of space and to bringing rhythm to long corridors. key alterations compared with the old solu- tions include:

The main entrance to the building is in the old place, but the associated lobby has been expanded into a partly two-storey common space running through the whole building with kruunuhaka town block visible over the sea. a new entrance into the lobby was added on the side of the sea, complete with

a terrace. These activate the building in the

direction of the town and make the build- ing more accessible for customers. Various public and common facilities, a restaurant, meeting rooms as well as service facilities of the end-users are collected round the lobby on the ground floor. The multi-activity area, where we are located, is also a new building part. floors 1-6 are office floors. On each floor

a central zone of assembly areas and break

rooms is provided as a common area with tall glass walls that offer views of the town- scape. prefabricated partition wall elements running in parallel with the corridors are also primarily glass walls to support the transparency and lightness of the facilities. The end-users of the building – the na- tional Board of education, CiMO and fullbright Center – have contributed to the design of the new facilities from the very beginning. The strategies and objectives of the user organisations were defined and analysed to produce a work environment that serves the users in the best possible manner. The service-intensive nature of the user organisations and their philosophy based on transparency has also influenced the ar- chitectural solutions used in the building. The design solutions for their part support the users’ objective of sustainable operation. This has been translated into flexibility of spaces and a possibility to implement modi- fications in an economically viable manner during the life cycle of the building. all the parties involved in the design process utilised product modelling in their design efforts. The existing building was

measured by means of laser scanning and modelled into a scale model for use by the designers and the Client. The product models of the various design- ers were combined and the resulting model was utilised in many ways for the needs of design, procurement, and implementation, and will also later be used for building maintenance purposes. One concrete advantage of the use of product modelling at the design stage is the use of the model to perform overlap analy- ses, particularly as the existing floor heights are exceptionally low for modern techno- logy. in finland new building projects only increase the building stock by ca. 1.5% an- nually. in terms of the climate change, it is important that stricter standards are ap- plied to the energy efficiency of new build- ings, but it is the existing building stock and renovation projects that play a singu- larly crucial role. for 6 Hakaniemenranta street, the re- placement of the engineering systems and the external shell has reduced the energy consumption of the building to the level required by current standards.

Copper at sea

In this article we take a short break from architecture to explore a very different application of copper sheet – in boat building.

Today’s pleasure boats are usually made of fibreglass or metal but boating enthusiasts are keen to preserve traditional ways by

building new boats from timber using old designs. This is how the two-masted schooner “Ihana” came into being at the small coastal community of Luvia located in western Finland. Luvia is a centre for boating enthusiasts and the community offers them a modern marina with restaurants and other services. It has a long nautical history and cargo ships, some

of which were timber sailing vessels, used to call at the local har-

bour. The town is still well-known for boat-building and the re-

nowned Skylla boats are made in Luvia. So, it is not surprising that

a local enthusiast came up with the idea of building a new sailing

boat identical to a traditional schooner – and it has been named “Ihana”, meaning ‘wonderful’. The entire boat has been built by volunteers and mainly of do- nated materials. Construction of the ship was started in 2005 when large logs were felled to get material for the curved ribs of the hull. Between five and ten volunteers worked on the schooner every day and it was launched in July 2009. The design of “Ihana” is faithful to the drawings of the original schooner.

COPPER PROtECtIOn

Because the schooner is over 28 metres long and six metres wide,

it will not be taken out of the water for the winter. However, in the frozen sea the wooden hull has to be able to withstand extreme pressures and, if unprotected, there could be a risk of serious damage. Therefore a decision was made to install copper sheets

to the keel and wooden hull up to the water line for protection.

The material used is 1 mm thick copper sheet pre-cut into 0.50 x 100 mm pieces and about 250 m 2 was used. The wooden sides were first treated with bitumen mass, which in turn was covered with a layer of polypropylene, and another layer of bitumen applied onto it. Then the copper sheets were overlapped a couple of centimetres and nailed at two-centimetre intervals with barbed copper nails. For extra safety, there are another two rows of nails in the middle of each sheet but more widely spaced. The sheets had to be heated on site to mould them into the shape of the boat’s hull. Another important reason for the use of copper was to prevent seaweed and marine micro fauna from attaching to the bottom of the schooner: without it the bottom would be extremely hard to keep clean. The copper surface of the hull also helps the boat to glide through the water with less resistance. The schooner “Ihana” has attracted enormous interest round the world and there have been numerous enquiries and proposals for cooperation. The ship’s sail area is approximately 300 m 2 and the engine is a 6-cylinder 280-hp Sisu engine. For more informa- tion and photos of the ”Ihana”, please visit www.kaljaasi-ihana.fi

of the ”Ihana”, please visit www.kaljaasi-ihana.fi The keel and the bottom are protected with copper up

The keel and the bottom are protected with copper up to the water line.

the bottom are protected with copper up to the water line. The wooden deck of the

The wooden deck of the schooner getting its shape.

Photo: Hannele Kuusisto
Photo: Hannele Kuusisto

The copper has been annealed to follow the contour of the hull.

A modern Marine Villa
A modern
Marine Villa

VIlla lazUR enjoys a stunning marine location in Jurata on the south coast of poland’s Hel penninsula – a long, thin, tongue of land extending into the Baltic sea above Gdansk Bay. its beach-front site in this popular holiday destination is surrounded by pine forests with extensive local flora and prestigious apartment buildings. The Villa itself consists of ten apartments, all facing south towards the sea. Just three primary facade materials are used: white stucco, natu- rally coloured timber panels and pre-patinated copper sheet. The horizontally banded copper facades to the top level use 430 mm x 3000 mm teCu patina sheets, jointed with a single welt system. The substructure consists of an alu- minium frame with 18 mm OsB boarding and a double ventilation void protected by perforated sheet metal. The different geometric forms used in the design and choice of materials provide light, smooth surfaces – some curved, others flat. The overall effect is typically marine in character, with over- tones of art Deco architecture from the early 20th century, but contemporary and entirely suited to its coastal situation.

t s c o a s t a l s i t u a t i
t s c o a s t a l s i t u a t i
t s c o a s t a l s i t u a t i

architect: Zbigniew Reszka, PA Arch-Deco, Gdynia, Poland

Wrestling with copper

A soaring, lightweight copper roof protects an open sports arena in a dramatic lakeside setting.

an open sports arena in a dramatic lakeside setting. t he village of riaño – in

t he village of riaño – in the province of

León, northern spain – sits between the

Cantabrian Mountains and a man-made

lake. at a pivotal location within the village, a circular amphitheatre was built 10 years ago to accommodate traditional wrestling competitions, which have a long history in the region, and other community events. The building consists of rugged stone walls forming a circle, with an umbrella-like canopy floating above – providing protection from the weather but essentially retaining an open-air character.

The roof is defined by ten radial, laminated timber beams converging at the centre and supported at the perimeter on massive concrete pillars. The slim, stainless steel connections between beams and pillars allow structural movement but also add to the impression of a weightless floating canopy. This combination of massive and lightweight elements is reminiscent of the “roman Coliseum” with its unfolded canopy. The open interior space is organised by stands at both sides of an imaginary and visual line connecting the lake and village.

The copper forms a continuous skin over the lower sections of the shallow dome roof, with a central area of glazing above. it is laid on a thin, continuous wooden substrate, supported on cross purlins and incorporates standing seam joints running down the roof curvature. The raised main beams are also clad with copper sheet, including where they pass through the glazed roof. Here, single lock seam joints are used in the direction of the slope.

lock seam joints are used in the direction of the slope. Project: Wrestling Arena, Riaño, León,
lock seam joints are used in the direction of the slope. Project: Wrestling Arena, Riaño, León,
lock seam joints are used in the direction of the slope. Project: Wrestling Arena, Riaño, León,

Project:

Wrestling Arena, Riaño, León, northern Spain

architects:

Felix Compadre Diez

Copper Installer:

Amilcar

Roof area :

700m 2

Completed:

2000

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I n this issue of copper forum we have seen several examples of copper applied extensively

throughout facades as the predomi- nant material, effectively defining the architecture of the building. But in this new housing development, copper is used in harmony with oth- er quality materials to develop an urban language appropriate to its sensitive historic setting.

appropriately named, Harmony is a new development of contemporary apartments in isleworth, west London. it is being de- veloped as a joint venture between will- mott Dixon Homes, notting Hill Housing Group and the Homes and Communities agency. when complete, Harmony will consist of 280 one, two and three-bedroom apartments in low-rise buildings separated by areas of attractive landscaping. 106 of the homes are for private sale, with the remainder available for key workers, for shared ownership under the government’s new Build HomeBuy scheme or for social rent.

The design – by architects Hunter & part- ners – aims to create good modern build-

ings that relate to the context of this sensi- tive site. The use of 3 and 4 storey buildings with pitched roofs and gables results in an appropriate domestic scale but with con- temporary detailing that eschews pastiche. The layout creates blocks with strong street frontages that clearly define public and pri- vate areas and allow informal surveillance

to contribute to a sense of personal safety.

a feeling of enclosure is generated within

the internal street, whilst gaps between the blocks afford views across and out beyond the immediate site.

VISIBlE frOM A WOrlD HErItAGE SItE

The site is close to syon House, the Lon- don home of the Duke of northumber-

land, and its impressive parkland, as well

as other protected historic buildings and a

cemetery. it is also visible from the famous royal Botanical Gardens at kew on the

river Thames, designated a world Herit-

age site. This was a particular challenge for the designers, as paul wellings-Longmore

of Hunter & partners explains: “The lim-

ited palette of external materials is drawn

cOPPEr IN HArMONY

from those with ‘natural’ hue and colour. The use of high quality, subtle materials – brickwork, grey roofing and pre-patinated copper – softens the visual impact of the buildings when seen from syon park and isleworth Cemetery and avoids jarring with the surroundings.

“The lift and stair cores are expressed as vertical stacks equivalent to traditional features such as chimneys, emphasised through the green copper cladding. They provide a rhythmic punctuation breaking up the street elevations. where the cores support roof-mounted plant, the enclosure is integrated into the design so that they read as single unified elements. although there were financial constraints, copper proved to be the most appropriate mate- rial given the site’s historic context and we were certainty steered in that direction by the local planning authority. pre-patinated copper was used to give the finished im- pression and to blend immediately with the surrounding older buildings. we selected a specific intensity of patination to suit this context. Copper provides a ‘living’ surface – not just a single colour – with a changing character, almost like abstract art.”

Vertical stacks of pre-patinated copper rhythmically punctuate the block elevations. SUSTAINABLE MATERIALS Sustainability

Vertical stacks of pre-patinated copper rhythmically punctuate the block elevations.

copper rhythmically punctuate the block elevations. SUSTAINABLE MATERIALS Sustainability is important to all

SUSTAINABLE MATERIALS

Sustainability is important to all those involved with the project and Harmony meets the Code for Sustainable Homes Level 3 standard. External materials have been selected that are durable and have in- tegral rather than applied finishes: copper’s extremely long-life, heritage of recycling and relatively low embodied energy were all recognised at the design stage.

low embodied energy were all recognised at the design stage. Copper is also used in stacks
low embodied energy were all recognised at the design stage. Copper is also used in stacks

Copper is also used in stacks to highlight entrances and for more sculptural elements.

Project: Harmony, Isleworth, London, UK Client: Willmott Dixon Homes, Notting Hill Housing Group and the Homes and Communities Agency. Architects: Hunter and Partners

Copper Installer: Full Metal Jacket Copper supplier: Luvata Sales OY (UK) Illustrations: Hunter and Partners Photos: Chris Hodson and courtesy of the Client

OY (UK) Illustrations: Hunter and Partners Photos: Chris Hodson and courtesy of the Client COPPER FORUM
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